Back in the early 80’s when I first started paying attention to the post-punk/new wave scene, mostly via college radio, The Comsat Angels were a frequently mentioned band among others like Joy Division, U2, and The Teardrop Explodes. Although I heard of them often back then I can’t say I ever heard much of their music, if any at all, as my radio listening was fairly scattershot and at that time I was listening just as much, if not more, to “Christian rock.” I’m inclined to think, however, that if I would have heard the Comsat Angels back then I would have liked them.

My interest in them was kindled earlier this year when I watched the film Control, which tells the story of Joy Division lead singer Ian Curtis. Reacquainting myself with some of the music of that period, The Angels were one of the bands that came up a lot in various searches, and quickly became one I wanted to revisit.

Sleep No More, which was released in 1981, was their second LP, coming after the well-received debut Waiting For A Miracle. Good as it is, the first record has the feel of a band still trying to find itself. With Sleep No More everything has fallen into place. Somewhat darker than the first album, it also features instrumentation that’s more spare – guitar, bass, and drums, mostly, with keyboards playing a largely supportive roll. Still, it sounds remarkably full for a record from 1981: the guitars are loud, the bass is fat and prominent in the mix, the drums sound huge. I remember a long time ago reading a review where the writer said that an album, I forget what, “sounded like it was three feet thick.” That’s the way I’d describe this one.

The guitar work is jagged and angular, but still musical, a little like early U2 but more complex and fuller sounding. The songs, though not exactly catchy, are consistently engaging and interesting, the general feel being fairly bleak and angst-ridden (Cure fans take note!) And despite clocking in at only 38 minutes (many of the songs run less than four minutes) Sleep No More feels more substantial, probably due to this intensity of both musicality and tone.

When playing the album for the first time “Be Brave” was the track that really grabbed me on that initial listen:

The other song that I loved instantly is “Our Secret,” which closes the record. Despite the guitar line being the virtual apotheosis of “jagged and angular,” the song has a great hook, augmented by the most prominent use of keyboard on the entire record – the wonderfully inspired presence of a very “retro” sounding organ in the chorus. At 4:12, the song simply ends too soon!

I’m pretty sure that if you like these two tracks, you’ll like the rest.

I haven’t had the chance to listen to their subsequent records yet, although it seems they went in a more commercial direction in the mid-80’s, only returning to their early form on 1987’s Chasing Shadows. The 1982 follow up to Sleep No More, Fiction, is supposed to be a little lighter in tone but still quite good. I haven’t heard it yet, but I do tend to check out the rest of their material. In the meantime it sure was fun discovering this album, even if it was 36 years late

—Rob Grano has a degree in religious studies which he's put to good use working on the insurance side of the healthcare industry for the past 20 years.  He's published a number of book and music reviews, mostly in the small press, and sometimes has even gotten paid for it. He lives outside of Pittsburgh, Pa.